Avatar – Hunter Gatherer

For those who may be unfamiliar, Avatar is a Swedish avant-garde metal band. Their music is extremely weird and zany, so it can definitely be an acquired taste. However, their taste for theatricality translates into an excellent live show, which I can personally vouch for, so if you ever get the chance to see them, that’s the best way to be introduced. That being said, the major problem with this band is that apart from the singles, they don’t always write the greatest or most memorable songs. And that’s really as true as ever on Hunter Gatherer. I really can’t take too many points away from them though. They’re all outstanding players, the instrumentation is highly impressive, and their music certainly has personality. I just always find myself wishing they could write full albums of material as memorable as their singles. “Colossus” is as good a single as one might expect from Avatar, and it’s probably the best song on the album. The only other real standout is “Gun,” which is a piano ballad, something a bit out of the ordinary for Avatar. Overall, this album isn’t a massive step up in any way for Avatar, but I must say that it’s more accessible than their super weird previous release, Avatar Country. So hey, if you’re looking for some solid, competent heavy music with a little bit of unique personality, then sure, I can recommend this. But I must reiterate, if you want to truly understand the hype behind this band, seeing them live is the best way to go.

Score: 3/5

Deep Purple – Whoosh!

The 20^th album from one of hard rock’s first and most sacred institutions. So what do Deep Purple have to offer us in 2020? Well certainly not one of their best albums, but who expected it to be? I must say, I enjoyed this album a lot more than than I expected to. Deep Purple have delivered a jam album, pure and simple. The guitar and keys/organ take the lead role on this album, delivering a whole disc of unadulterated blues rock fun. I’ve always thought Steve Morse’s guitar style was a little shreddy for the band that was once home to Ritchie Blackmore, but he’s a killer player who gets the job done, nonetheless. The spry, bouncy jam band approach to this album is a bit of a stylistic departure from the days of classic Deep Purple. If you go into this album expecting the loud, chaotic, proto-metal energy of an album like Deep Purple in Rock, you won’t find it here. Deep Purple have a highly acclaimed and accomplished career under their belts, and if they want to spend their more elderly years jamming out and just having fun, they sure aren’t hurting anybody. Whoosh! certainly isn’t a must-hear, but if you’re curious, give it a spin. If nothing else, you’ll have a good time with it.

Score: 3.5/5

Biffy Clyro – A Celebration of Endings

Okay, I admit it. I’m a little late to the hype train when it comes to Biffy Clyro. But after poking around through their discography in preparation for this review, I can honestly say I’m onboard. Seriously, this band’s compositions are nothing short of spectacular. The layers of sonic pieces within the puzzles that make up their songs are so chaotic, yet so tight and well thought out, it’ll make your head spin in the best of ways. This almost indescribable musical style is juxtaposed against their infectiously welcoming melodies in an unexpected way, and they always make it work. And they certainly brought their A-game with A Celebration of Endings. This album boasts the endlessly impressive composition and pristine, world-class production that has always been present in Biffy Clyro. Here, we definitely see the band focus on melody more than on some of their other records, at the expense of some of the zanier musical moments that have highlighted their past works. If you really want to see the full range of what this band is capable of musically, I’d recommend checking out their double album Opposites, from 2013. But if you want an easier, more palatable listen, in an unintimidating 45-minute runtime, A Celebration of Endings will surely do the trick. Another great entry from a band that I had admittedly been sleeping on.

Score: 4/5

The Front Bottoms – In Sickness & in Flames

Look, I know this won’t make me any friends, but I’ve never understood the appeal of this band. Admittedly most of my previous familiarity with them has been their early music, and I just never understood what was enjoyable about Brian Sella screeching unfunny stream-of-consciousness nonsense and trying to cram too many syllables into a single line, singing in an unbearably exaggerated Tom DeLonge impression, all set over simplistic acoustic progressions. That being said (for those of you who haven’t angrily clicked off yet), as I went back through their discography, I found that with every passing album, they’ve expanded their arsenal in terms of composition and instrumentation, and Sella’s sense of melody seems to be improving. And that trend has definitely continued on In Sickness & in Flames. Apart from the fact that I still can’t get past the vocals, there’s not much here I can really complain about. The instrumentation is actually pretty tight, we get some of the best melodies Sella has ever written, and I actually found the lyrics to be pretty charming in places. This album certainly hasn’t converted me, but as far as The Front Bottoms’ music goes, there really aren’t many negative things I can say about this album.

Score: 3.5/5

Hello, and welcome to the second installment of “Starter Packs,” where I take a popular band or artist with a notably large catalogue of work, and recommend three albums to start your journey. Today, we’ll be taking a look at Rush. As some of you may know, Rush is my favorite band, and I’m more than happy to talk your ear off about them anytime, so this should be a fun one. Rush are inarguably a prog rock staple, and one of the most accomplished bands in the history of the genre. With a career spanning nearly half a century, and a discography of 19 studio albums, there’s a lot of music to dig into. So today, I’ll be sharing what I feel are some of the best places to start. Keep in mind, these aren’t necessarily my personal favorite Rush albums (check out my Rush discography ranking from earlier this year for that), but are simply the albums I feel are good jumping off points. So let’s get started!

1.Moving Pictures

Everyone starts with Moving Pictures. No exceptions. Non-negotiable. Moving Pictures is Rush’s mainstream rock opus, and is a classic record by all metrics. With this album, Rush managed to become the most radio-friendly version of themselves, without sacrificing any of the complex, yet quirky characteristics that made them such respected musicians in the prog scene. This album is packed wall-to-wall with classics such as “Tom Sawyer,” “Limelight,” and “Red Barchetta,” making it the perfect first impression for newcomers, particularly those who may not be ready for the weirder corners of Rush’s discography. Get ready to lose yourself in the massive atmosphere, and barrage of virtuosic instrumental passages that ooze out of these songs. The busy, yet purposeful, compositional style displayed by all three members ensures that there is never a dull moment on Moving Pictures. It’s an accessible, and quite inviting album that will leave you hungry to hear more of what these guys are capable of. So with that, let’s keep moving.

2. 2112

For this one, we’re going back a little earlier in Rush’s career, to the album that essentially saved them. Prior to 2112, Rush just wasn’t selling records, and their label was losing patience. The band was explicitly told that if their next record wasn’t a hit, they were done. They were instructed to write more mainstream-friendly music. So naturally, they ignored the label executives, and wrote one of prog rock’s great masterpieces. And against all odds, it exploded. And for good reason. Ladies and gentlemen, I’m not exaggerating when I say that side A of 2112 is the greatest 20 minutes of audio ever captured. A massive, multi-movement sci-fi suite about a dystopian world without music. If you aren’t 100% sold on Rush, hearing this absolute gem of a track will get you there. And on top of that, Side B is a pretty great sampling of Rush’s early sound, with classics such as “A Passage to Bangkok” and “The Twilight Zone.” And if you love this record, I have some great news for you. The entirety of Rush’s output from the 1970s is an absolute gold mine of superb prog rock in this vein. So go nuts. I can’t stress enough what a joy this band’s early work is.

3. Grace Under Pressure

The 1980s were a controversial time for Rush, and the music they released during the decade remains a topic of debate among Rush fans to this day. Following the massive success of Moving Pictures, the band dove headfirst into the use of electronics and synthesizers, an element that had already been growing more and more present in their music for some time. This lead to the creation of four new wave albums throughout the 80s, which together are known to Rush fans as “the synth era.” Some fans of the band absolutely hate the synth era. Hell, even Alex Lifeson hates the synth era. But nevertheless, it was a noteworthy period in Rush’s career, and it must be represented in this starter pack. And while many fans would point to Signals, the first album of the synth era, as the best, I have always felt that the next album, Grace Under Pressure is where the band truly locked in their new sound. The production and performance are air-tight, the songwriting packs a punch at all the right times, and the mix of Geddy Lee’s synth work, Neal Peart’s electric drums, and Alex Lifeson’s inversion-heavy guitar riffage, comes together as one unified musical unit more effectively here than on any other Rush album from this era. Songs such as “Distant Early Warning” and “Red Sector A” are some of the best from this era, and from Rush’s entire catalogue. If you enjoy this album, you’ll surely love the rest of Rush’s synth era albums. And if you enjoy all three of the albums I’ve suggested, then do yourself a favor and dive headfirst into the rest of this band’s immaculate body of work.

The Beths – Jump Rope Gazers

The Beths are a band that I recently became aware of, simply from hearing their songs pop up on playlists. Eventually, I decided to check out their 2018 debut album, Future Me Hates Me, and immediately fell in love with the quirkiness of the airy lead vocals, contrasted against energetic, big-guitar instrumental textures, taken straight from the 90s alternative playbook, drawing clear influence from the likes of Green Day and Weezer. This is exactly the kind of fun, delightful indie rock that belongs on any summer playlist. Upon discovering that their sophomore album was coming this year, I knew I had to check it out. And it honestly didn’t disappoint. We pretty much hear more of the same with Jump Rope Gazers that we heard on Future Me Hates Me. And even though this is something that many sophomore records are criticized for, it isn’t always necessarily a bad thing. In the case of The Beths, their sound is still far from growing stale, and the songwriting quality hasn’t gone down a bit with this record. Get ready to fall in love with the fun, energetic upbeat guitar tunes, as well as the softer moments, where the instrumentation takes a backseat to the genuine and vulnerable lyricism. The Beths are certainly a band that has some room to grow, but they have an absolutely irresistible sound, and I fully expect to have this album in regular rotation for the rest of the summer. You should too.

Score: 4/5

Kansas – The Absence of Presence

Kansas are without a doubt one of the quintessential dad rock bands. You know, those bands from the 70s and 80s that are limping along with almost no original members, and spending most of their working time doing summer amphitheater tours, usually including one or two other dad rock bands? And let’s face it, bands that fit this description rarely release new music, and when they do, the sales and streaming figures are pretty underwhelming. And now, we have a new album from Kansas (or at least the rhythm guitarist and drummer of Kansas…I have no idea who the other guys are). So what do we get from The Absence of Presence? Well, it seems that Kansas has made a Kansas album. There’s really not a whole lot more I can say about it. It’s a straightforward 70s-style prog record, in the style of Leftoverture or Point of Know Return. And while I will admit I enjoyed this album more than I would’ve enjoyed a callback to the band’s 80s stadium rock era, it doesn’t come anywhere near measuring up to their classic records. Don’t get me wrong, it ticks all the boxes. Complex guitar interplay, multi-movement songs, effects-heavy keyboards, and plenty of violin work. But at no point do they go above and beyond that bare minimum and make anything outstanding or overly memorable. But then again, did we expect them to? These guys are over the hump, and they know it. They also knew that this album would pretty much exclusively be listened to by their most loyal fans, and it’s pretty clear that they’re the ones this album is made for. So hey, if you’re a lifelong Kansas fan who loves the majority of their discography, you’ll probably dig The Absence of Presence. Everybody else can skip it.

Score: 2.5/5

The Pretenders – Hate for Sale

Up next, we’re throwing it back to one of punk rock’s biggest household names. So what do The Pretenders have to offer in 2020? Well, like with Kansas, this is a Pretenders record, through and through. That being said, I actually kind of love this album. The difference is that while this is a fairly standard Pretenders album, it offers up not only the style and sound of the band’s classic work, but also the raw punk energy and irresistible songwriting. This certainly isn’t on the same level as the band’s self-titled masterpiece, but it is honestly in the ballpark of some of their other classic records. In a compact 30-minute package, Hate for Sale offers a highly enjoyable mix of the band’s classic punk attack, and softer moments that feel very genuine and personal to Chrissie Hynde. I can’t say I really knew what to expect from this album, but what we get is The Pretenders doing what they do best, and I certainly can’t complain.

Score: 4/5

Alanis Morissette – Such Pretty Forks in the Road

Sure, it’s been over two decades since Alanis Morissette released a truly great album, but hey, if there was ever a time for the blunt, bitter, and honest introspection that Morissette brings to the table as a songwriter, it’s 2020. I must say, the first several tracks of Such Pretty Forks in the Road got me pretty excited. These songs were all as beautifully flawed and emotively performed as one could ever expect from Morissette, and her sense of melody is every bit as impactful as it has ever been. Unfortunately, this very strong beginning is the high point of the album. That’s not to say there aren’t any other good songs here, but Morissette ultimately fails to keep the initial momentum running for the duration of the listening experience. This is only amplified by the fact that the majority of these songs are piano ballads. They may be solid piano ballads, but let’s face it, putting too many slow songs back to back on an album is attention span poison. Every time I spun this album, I found myself having to try very hard not to zone out and lose interest in spots. On top of the more chill, ballad-centric nature of this album, we also hear very clean, pop-centric production, which works well overall for the style of music that Morrissette presents, but the vocal filtering can be something of a hinderance to the raspy, broken, emotional delivery that made Morrissette famous, and made Jagged Little Pill an alt-rock staple. But you know what? On top of all these complaints, the best moments on this album are absolutely beautiful. Alanis Morrissette’s introspective and highly vulnerable writing style has always been completely irresistible to anybody who dares to really listen and be sucked into her world, and that’s as true on this album as it has ever been. Only this time, she approaches her writing with a serenity and maturity that displays much growth from who she was in the 90s. Such Pretty Forks in the Road is far from the timeless classic that was Jagged Little Pill, but a few personal preference-based complaints aside, this is a very welcome addition to the discography of one of rock’s most accomplished women.

Score: 3.5/5

Hello, and welcome to the first installment of “Starter Packs,” where I take a popular band or artist, with an exceptionally large discography, and recommend three albums to start your journey! These may not necessarily be my three favorite albums from the artist, but are simply a sampling of their music, which I feel best represents their body of work as a whole. Today, we’ll be taking a look at The Beatles. Hailed by many as the greatest rock band of all time, and one of my personal favorites, The Beatles cranked out an incredible amount of timeless, game-changing pop music in the span of only a decade. Looking at the full timeline of what this band achieved, one might not know where to begin. So now, I’ll be walking you through the three albums that I feel are the best places to start when it comes to The Beatles.

1.A Hard Day’s Night (1964)

Everyone’s heard about Beatlemania. Everyone’s seen the videos of The Fab Four being chased down the street by screaming, adoring fans. Everyone’s heard the audio clip of Ed Sullivan exclaiming, “Ladies and gentlemen…The Beatles!” This was a pivotal moment in pop culture history that set the standard for what it would mean to be a pop icon. This era for the band is perhaps best represented by their 1964 album, A Hard Day’s Night. Songs such as the unforgettable “Can’t Buy Me Love” and the titular “A Hard Day’s Night” are very closely tied to this moment in history, adding an even greater importance to this album. Stacked top to bottom with some of the most infectious pop songs ever written, this album perfectly exemplifies what the hype around these four Liverpool boys was about. If you enjoy this, you’re sure to love the rest of the band’s early works as well.

2. Sgt. Pepper’s Lonely Hearts Club Band (1967)

It’s incredible how quickly The Beatles evolved from a heartthrob pop act to a daring, ambitious proto-prog outfit, that would open the floodgates for creative music for years to come. Sgt. Pepper’s Lonely Hearts Club Band was the end product of perhaps the most ambitious idea The Beatles ever had, or what is now known as the “concept album.” Performing as an alter ego band of sorts, The Beatles applied everything they had learned from their previous two, equally adventurous releases, and created the most complete and cohesive album in their entire discography. Considered by many to be the single greatest album of all time, Sgt. Pepper’s revolutionized what it even meant to create an album. This was the first time in the history of popular music that full LPs were outselling singles. With this album, The Beatles set a new standard for album construction, where the album as itself functions as a coherent experience (which is obviously something I’m quite thankful for). Sgt. Pepper’s is a must-hear, not only for anyone who is trying to get into The Beatles, but for any self-respecting music lover in general. Later on in your Beatles journey, if you are interested in hearing the transitional period between the A Hard Day’s Night sound, and what they achieved here, check out Rubber Soul and Revolver as well.

3. Abbey Road (1969)

As the Beatles’ ten year run progressed, the songwriting skills of the respective members only got better and better, due in part to John Lennon’s and Paul McCartney’s mutual obsession with being better than the other. As their career as a band neared its end, this slow-burning competition culminated with 1968’s The Beatles (better known as The White Album), and 1969’s Abbey Road, two of music’s great instruction manuals in creative songwriting (and my two personal favorite Beatles albums). Ultimately, I elected to include Abbey Road in this particular list, as it is by far the most accessible of the two. Not only do Lennon and McCartney set their best feet forward with some of the band’s all time classics, such as “Come Together” and “Oh! Darling,” but we also hear two contributions from George Harrison, “Something,” and “Here Comes the Sun,” both of which stand up to anything Lennon and McCartney have ever written. We even get the ever-rare Ringo Starr composition in “Octopus’s Garden,” an irresistibly whimsical children’s song in the style of “Yellow Submarine” (but actually a much better song). And of course, we get the Lennon/McCartney songwriting duo’s crowning achievement, the “Abbey Road Medley,” an epic, proto-prog collection of short songs that takes up most of the record’s B-side. With their final record recorded (not their final record released, but that’s a story for another day), The Beatles gave us a masterpiece that exemplifies the songwriting talents of all four members to the fullest. After you sink your teeth into this record, you’ll be hungry to hear the rest of this band’s incredible catalog of work, guaranteed.

The Ghost Inside – The Ghost Inside

With new releases slowing down drastically due to COVID-19, I had to do a little bit of deep digging to come up with a solid review schedule for this month. For instance, I decided to check out the new album from The Ghost Inside, a popular-ish metalcore band from the late 2000’s and early 2010’s that I really hadn’t paid much attention to at all. Upon digging through their discography a little bit, I discovered that while much of their work was fairly hit-or-miss, and frankly pretty derivative of metalcore bands who came before and did it better, their 2012 album, Get What You Give is actually pretty solid overall. So hey, maybe if they were capable of creating a record so tight, riffy, and all around well written in 2012, they could do it again in 2020, right? Well, that’s not really what happened. If I’m being honest, The Ghost Inside’s self-titled album really doesn’t do much for me at all. While Get What You Give, and even select moments from other records, show at least some baseline level of versatility, this album is pretty sonically stagnant. We get all the drop-tuned guitar chugs a metalcore fan could want, but no memorable riffing or lead work, and no real fluctuation in dynamics. Classic metalcore acts such as Killswitch Engage and Avenged Sevenfold were masters at keeping fans engaged, because they knew how to weave in softer, more melodic moments to contrast against the heavier, more aggressive ones. And while The Ghost Inside have shown us in the past that they can do that, they do it so rarely here, that when it does occur, it’s more off-putting, and ultimately confusing, than anything else. Aside from these moments, guttural vocals rule the majority of this album, even in moments where the instrumentals would be better complimented by melodic vocals (this is actually a problem I have with the band’s entire discography), and messy production that lacks space and dynamic range prevents the vocals from standing out and shining when they need to the most. Not that you’d be missing anything if you didn’t catch any of these cliché, by-the-numbers, overly dramatic metalcore lyrics. Metalcore may not be my favorite genre, but even I know that solid riffs and melodies are essential to success within the genre. And they’re really nowhere to be found on this album. The Ghost Inside really isn’t a horrible listen, but it’s not one that adds anything to the story of this band, or the genre as a whole, either. All it really does is solidify this band as a one-trick pony. If you want to hear a modern band that does that trick better, I recommend checking out Wage War.

Score: 2/5

Protest the Hero – Palimpsest

Here’s a somewhat obscure band from the prog metal scene that most of you have probably forgotten about. Falling more on the mathcore side of things, this band can certainly be an acquired taste. But with this album, they’ve made something that’s completely in touch with their quirky and complex style, while still being palatable enough that most fans of metal can probably get behind it. This record is laced with epic, power metal inspired instrumentals, and soaring lead vocals that remind of Bruce Dickinson, while guttural vocals are relatively scarce, especially for a Protest the Hero album. The instrumentals are largely centered around the fast, yet at times staccato guitars, drenched in distortion and heavy compression, sounding almost like 8-bit arcade game music. Throughout the record, we hear moments of bass matching these guitar lines, with a fat, meaty distorted tone, though it sits a little low in the mix for my taste, so you may not hear it unless you’re listening for it. All of this is livened up by ever-blasting drums that just don’t quit. Not much dynamic flexibility for a 52-minute runtime, but the seemingly effortless fluidity and tightness of the band’s playing is enough to mesmerize listeners for the full duration. And the addition of pianos and strings throughout definitely add depth and power. Conceptually, the lyrics are very politically driven (definitely a theme this year), but with a bit more positivity. Don’t get me wrong, these guys clearly aren’t fans of the president, but without giving too much away, there’s a running theme of using his “Make American Great Again” slogan to reflect on everything they find to be truly great about the United States. It’s definitely an interesting change of pace to hear a band air their grievances, but with such optimistic overtones. Overall, this is probably my favorite Protest the Hero album to date.

Score: 4/5

Bob Dylan – Rough and Rowdy Ways

It’s been a minute since Bob Dylan released anything I even remotely cared about. Who wants to hear three covers albums in a row from ANY artist, let alone a man who is simultaneously one of the greatest songwriters of all time, and one of the worst singers of all time? Bob Dylan is honestly the last artist who should be releasing covers albums. But at last, we have some new original music from Bob Dylan. And? Look people, what did you expect? This is Bob Dylan we’re talking about. As far as his original music goes, the scale only goes from “great” to “really great.” So I knew when I first sat down with Rough and Rowdy Ways, I probably had a real treat on my hands. And this thing certainly didn’t disappoint. Set against his usual, stripped down, rootsy backing instrumentals, Dylan delivers an album of ten story songs, some of them rather lengthy (think Don McLean’s “American Pie,” George Thorogood’s “One Bourbon, One Scotch, One Beer, or Gordon Lightfoot’s “The Wreck of the Edmund Fitzgerald”), making for a total runtime of an hour and ten minutes. Such a long undertaking with such simple bareness in the instrumentals could only work if the lyrics were absolutely spectacular. Dylan spins tales of his life, his loves, and his travels, through a lens of age and experience that truly lends itself to where he is in his life and career, and how his many prior records have led to this one. Admittedly, the album can start to drag when Dylan wanders off on stream-of-conciousness tangents, particularly on the 17 minute closer, “Murder Most Foul,” but at the same time, every lyric seems as important and purposeful as the last. These story songs also come at the expense of the simple, singable songs of Dylan’s prime. Let’s just say there’s nothing here that demands a Guns N’ Roses cover. And of course, Dylan’s voice has only gotten rougher over the years. This album is a test in patience, and it’s not the sweetest on the ears. But for fans of Dylan, or of great songwriting in general, this album is an absolute joy. Rough and Rowdy Ways isn’t likely to experience the same longevity as Dylan’s classic albums, but even a mid-tier album from one of music’s great songwriting treasures leaves very little to be desired.

Score: 4/5

Neil Young – Homegrown

And now, we move from another addition in the ever-growing discography of a folk rock singer-songwriter legend, to…another addition in the ever-growing discography of a folk rock singer-songwriter legend. Seriously, new Bob Dylan and new Neil Young in the same day? Alright sure, I’m down. Once again, new releases have virtually slowed to a crawl, and if these old dogs are giving me something to talk about, I welcome it. What makes this Neil Young release so interesting is that it’s actually an album of unreleased material, written and recorded in 1974 and 75. We’re talking right at the heart of Young’s songwriting peak. And I must say, learning this really peaked my curiosity. And yet, at the same time, I was a bit skeptical. I mean, this music was written during the same era as Young’s all-time great classics, only to sit in the vault, untouched for nearly half a century. How good could it really be? A couple spins later, I’m happy to report that the quality of the music definitely isn’t the problem with Homegrown. The ideas here are as good as you might expect from mid-70’s Neil Young. They are, however, extremely undercooked and unfinished. The songs err on the short side, and the instrumentals are extremely minimalistic. But unlike the minimalism on Dylan’s new album, which seemed intentional, and worked for the most part, these songs have something of a first draft feel to them. Like much of Young’s music from this time period, slide guitars and pianos are prominently featured, along with the traditional rock band lineup, but they don’t feel exceptionally tight here. These songs give the impression of being the products of very brief, sporadic jams, amounting almost to a glorified demos album, with its overabundance of background noodling and studio banter. But as I said before…the songs themselves, though half-baked, are extremely good. And given that they were written nearly half a century ago, I think I’d rather hear them this way than for Young to have attempted to finish them now, coming from an entirely different age and mindset. Homegrown doesn’t come anywhere near feeling like a complete or coherent project, but at the end of the day, there are some genuinely great songs here, and I’m glad we finally get to hear them.

Score: 3.5/5

Boston Manor – GLUE

Here is a newer band that truly knows how to keep audiences on their toes. With their 2016 debut album, Be Nothing, Boston Manor made a strong case for pop punk’s relevance in the current rock scene. With their 2018 masterpiece, Welcome to the Neighborhood, they proved that they were capable of so much more than anyone expected, with a more diverse sound palette, and darker, more thought provoking lyrics. And in 2020, GLUE is an equally ambitious statement in the evolution of this band. With this one, the English emo outfit took an even darker turn, making a record whose personal and vulnerable lyricism is complimented by heavier, noisier instrumentals, even featuring aggressively industrial electronic elements (this is starting to seem like the flavor of the year, but hey, a lot of bands are doing it really well, so I won’t complain). These moments are complimented by softer, almost haunting moments, peppered with eerie clean guitar and keyboard work, often with hints of electronics still lingering in the background. In many ways, this conglomeration of sounds and ideas reminds me of what I loved so much about Badflower’s debut album, OK, I’m Sick in 2019. Once an intriguing and promising band of pop punk revivalists, Boston Manor have evolved into something almost entirely different. While hints of their emo roots still reside within certain melodic lines and guitar stylings, this is a band that now stands at the forefront of forward thinking in the alternative rock scene, and they’re definitely a group to keep a close eye on.

Score: 4/5

Hayley Williams – Petals for Armor

Paramore fans have eagerly awaited this release since its announcement in January of this year. Now, when you think of Petals for Armor, you may think of being bombarded with a ridiculous amount of music before the album was even released, strange and uncomfortable music videos, and Hayley Williams, in all her newfound wokeness, blaming all criticism of her new music on sexism. All this aside, Williams has actually given us some of her most vulnerable and intriguing music to date with Petals for Armor. Functioning almost as After Laughter’s evil twin, Hayley’s debut solo album continues in the very personal direction that we first got a taste of on Paramore’s previous album, but this time, trading in the ironically happy and upbeat melodies and instrumentals for a dark and unsettling atmosphere, throwing the listener straight into the darkest depths of the singer’s world. That’s not to say we don’t get any upbeat, catchy tunes, as on several of these cuts, Hayley draws from funk and pop-rock, accompanied by a grooving bass guitar that just doesn’t quit. This album is a rare instance of the bass standing front and center for almost the entire runtime, while the guitars, keys, and drums, sit in the back, complimenting the bass with a smooth, almost lounge-like atmosphere. In terms of album flow, this record almost seems to function more as a compilation of three Petals for Armor EPs than one cohesive album. On their own, the three brief discs which make up this album are sleek, brief, and leave the listener wanting more (good thing there are three of them). But as one united work, the album can drag in spots, and some of the musical ideas can become redundant. That being said, every song here feels lyrically purposeful, so the three-EP format is more than justified. Just perhaps not as one full album. That nitpick aside, Petals for Armor represents some of the most ambitious and accomplished songwriting we’ve heard from Hayley Williams to date.

Score: 4/5

Asking Alexandria – Like a House on Fire

Yeah, I know. Who cares, right? But hey, with all the album cancellations in relation to COVID-19, I had to scrape the bottom of the barrel a little bit this month. So what is Asking Alexandria up to in the brand new decade? Well, nothing good. But also, not necessarily what you would expect. Like a House on Fire is an almost whiplash-inducing mix of two distinct musical directions. On the one hand, we get some pretty riff-heavy old school hard rock. On the other, very bland, generic millennial pop-rock, ripped straight from the Imagine Dragons playbook. The lead single, “The Violence” is literally the most blatant ripoff of “Believer” that you can possibly imagine. What’s frustrating is that going in a more electronic pop direction is something that Asking Alexandria could have potentially pulled off pretty well. I mean, if you put a gun to my head and told me I had to say one nice thing about this awful, worthless band, I’d say that they’ve always known how to incorporate electronics into their sound rather tastefully. But unfortunately, what we get here is entirely void of any semblance of originality. On the harder rocking side, we get some cuts that are admittedly more enjoyable, but still rely on tired clichés, and don’t bring anything new to the table. Not only do we see these two vastly different styles in conflict on the album as a whole, but also within almost every individual song. Throughout the runtime, we see the band relying on a structure of pop-centric verses, with heavy, anthemic choruses. I’ll admit this came off as slightly intriguing at the beginning of the album, but it didn’t take long for it to get stale. This album really doesn’t have much going for it, until you compare it to the rest of Asking Alexandria’s abysmal discography. Compared to the nearly unlistenable sound they became famous for, the hard rock side of this album really isn’t a bad look on the band. Hey, I think I can now safely call “Lorazepam” my favorite Asking Alexandria song. And while the worst moments of this album are forgettable and unoriginal, it’s nice to hear the band tone it down with the obnoxious (and somewhat toxic) pseudo-edgy attitude that has always plagued their songwriting, as well as the headache-inducing screaming. Like a House on Fire is an album that doesn’t know what it wants to be, and doesn’t have any original ideas to offer, but hey, by virtue of being halfway listenable, this is definitely one of the better Asking Alexandria albums to date.

Score: 2/5

Alestorm – Curse of the Crystal Coconut

Who would’ve guessed a pirate-themed folk metal band could garner so much attention in the metal world? Alestorm have been one of the most beloved bands the gimmicky side of the genre has to offer for over a decade. If I had to pinpoint what exactly it is that makes this band’s shtick so effective, I’d say it’s their commitment to it. While on the Viking side of things, you have Amon Amarth, a band that sets Viking-themed lyrics to fairly by-the-numbers death metal, Alestorm complement their absurdist pirate lyrics with sea chanty melodies, manly sailor vocals, and even violins and a keytar. In this way, Alestorm have developed not only a gimmick all their own, but a sound all their own (the fact that that they’re all excellent musicians certainly doesn’t hurt either). And Curse of the Crystal Coconut is, for better or worse, more of what we’ve come to expect. If this album has a fatal flaw, it lies in the lyrical quality. While Alestorm have never taken themselves seriously, their earlier releases featured very smart, tongue-in-cheek lyrical absurdity, whereas their most recent releases have been much more outright goofy. At this album’s dumbest moments, it feels almost as though Alestorm are slowly becoming Pirate Steel Panther. While this approach can work, and the album does certainly have its share of hilarious moments, this change has annoyed some longtime Alestorm fans. But even if moments on Curse of the Crystal Coconut such as the rap (yes, that really happened) or the extremely vulgar song about another pirate’s ship being inferior seem like a bit much, I think if any band can make it work, it’s a band like Alestorm, who have reveled in absurdism since their 2008 debut. In pure Alestorm fashion, this album is filled to the brim with violin-laden folk metal (and occasionally even a horn section), lyrics about fighting pirates, raiding ports, and drinking (lots and lots of drinking), not to mention an eight-minute epic about life with wooden appendages. That’s about as Alestorm as it gets. So what this amounts to is an album that isn’t exactly a game changer. If Alestorm isn’t your thing, this one won’t change your mind. If you’ve enjoyed their music up to this point, it will surely satisfy. But hey, even if Alestorm don’t deviate from their formula or reinvent the wheel (or the rudder), Curse of the Crystal Coconut is still a shipload of fun.

Score: 3.5/5